Cinema Journal Annotated Index to Volume 39 Annotations indicate: a = actor/actress; d = director; f = film; m = musician; p = producer; s = screenwriter; tv = television series Andrews, Julie a Bowser, Pearl, and Louise Spence Morris, Christopher D. “Torn Curtain’s Fu- Bowser, Pearl, and Louise Spence. “Oscar tile Talk.” 39.1 (fall 1999): 54-73. Micheaux’s Body and Soul and the Burden of Representation.” 39.3 (spring 2000): 3-29. Arquette, Patricia a This essay explores Oscar Micheaux’s si- McGowan, Todd. “Finding Ourselves on a lent drama Body and Soul (1925) and some Lost Highway: David Lynch’s Lesson in Fan- of the critical discourses of the period. The tasy.” 39.2 (winter 2000): 51-73. larger goal is to investigate the politics of ra- Bacon, Lloyd d cial identity and the quest for racial unity in Leff, Leonard. “‘Come on Home with Me’: this period, when the class structure within 42nd Street and the Gay Male World of the the African American community was be- coming more stratified. 1930s.” 39.1 (fall 1999): 3-22. Baxter, Warner a Call of the Wild, The f (d D. W. Griffith, Leff, Leonard. “Come on Home with Me’: 1908) 42nd Street and the Gay Male World of the Jay, Gregory S. “‘White Man’s Book No 1930s.” 39.1 (fall 1999): 3-22. Good’: D. W. Griffith and the American In- dian.” 39.4 (summer 2000): 3-26. Benshoff, Harry M. Center Stage f(d Stanley Kwan, 1992) Benshoff, Harry M. “Blaxploitation Horror Cui, Shuqin. “Stanley Kwan’s Center Stage: Films: Generic Reappropriation or The (Im)possible Engagement between Reinscription?” 39.2 (winter 2000): 31-50. This essay examines how the discourse of Feminism and Postmodernism.” 39.4 (sum- race plays out in horror films made during mer 2000): 60-80. the blaxploitation era (roughly 1969-1976), Cheung, Maggie a focusing on how an awareness of Othering Erens, Patricia Brett. “Crossing Borders: contributed to changing representations of Time, Memory, and the Construction of monstrosity and normality within the genre. Identity in Song oft he Exile.” 39.4 (summer Berretini, Mark L. 2000): 43-59. Berrettini, Mark L. “Private Knowledge, ‘Chienne, La f(d Jean Renoir, 1931) Public Space: Investigation and Navigation Welsch, Tricia. “Sound Strategies: Lang's in Devil in a Blue Dress.” 39.1 (fall 1999): Rearticulation of Renoir.” 39.3 (spring 2000): 74-89 51-65. Carl Franklin’s Devil in a Blue Dress (1995) uses film noir’s critical potential to Clift, Montgomery a2 present a studied assessment of Los Ange- Corkin, Stanley. “Cowboys and Free Markets: les’ “dark” criminal terrain as it is defined by Post-World War II Westerns and U.S. He- the color line. In this regard, the film pays gemony.” 39.3 (spring 2000): 66-91. significant attention to figures historically Corkin, Stanley marginalized in postwar L.A. Corkin, Stanley. “Cowboys and Free Markets: Blot, The f(d Lois Weber, 1921) Post-World War II Westerns and U.S. He- Parchesky, Jennifer. “Lois Weber's The Blot: gemony.” 39.3 (spring 2000): 66-91. Rewriting Melodrama, Reproducing the This essay looks at the historical phenom- enon of the western as a focal genre in post- Middle Class.” 39.1 (fall 1999): 23-53. war America. Through discussion of Howard Body and Soul f(d Oscar Micheaux, Hawks’s Red River and John Ford’s My Dar- 1925) ling Clementine, it shows how the western Bowser, Pearl and Louise Spence. “Oscar was well suited to conveying important ideo- Micheaux’s Body and Soul and the Burden logical rationales for postwar U.S. foreign of Representation.” 39.3 (spring 2000): 3-29. policy, including the inevitability of American 129 Cinema Journal 39, No. 4, Summer 2000 expansion and the strategies for hegemony (1915) signifies the founding moment of sig- that guided the Truman administration’s for- nificant black writing on the cinema. This eign policy. essay investigates the pre-Birth film criticism of New York Age columnist Lester A. Walton Courage Under Fire f (d Edward so as to challenge that misconception and Zwick, 1996) recover a lost legacy of early black film Linville, Susan E. “The Mother of All Battles’: spectatorship. Courage Under Fire and the Gender-Inte- grated Military.” 39.2 (winter 2000): 100-120. Fonda, Henry a Corkin, Stanley. “Cowboys and Free Markets: Cox, Alex d Post—World War II Westerns and U.S. He- Laderman, David. “The Road Movie Redis- gemony.” 39.3 (spring 2000): 66-91. covers Mexico: Alex Cox’s Highway Patrol- man.” 39.2 (winter 2000): 74-99. Ford, John d Corkin, Stanley. “Cowboys and Free Markets: Cui, Shugin Post—World War II Westerns and U.S. He- Cui, Shugin. “Stanley Kwan’s Center Stage: gemony.” 39.3 (spring 2000): 66-91. The (Im)possible Engagement between Feminism and Postmodernism.” 39.4 (sum- Forrest Gump f(d Robert Zemeckis, mer 2000): 60-80. 1997) Analysis of the star image of Ruan Lingyu, Wang, Jennifer Hyland. “A Struggle of Con- constructed in the early Chinese films of the tending Stories’: Race, Gender, and Political 1930s and rearticulated in Stanley Kwan's Memory in Forrest Gump.” 39.3 (spring Center Stage (1992), demonstrates the con- 2000): 92-115. tradictions between feminism and postmod- Forty-Second Street f(d Lloyd Bacon, ernism. In addition, when placed in the context of Hong Kong’s return to China, the 1933) fragmented female image reveals a concern Leff, Leonard. “Come on Home with Me’: 42nd Street and the Gay Male World of the for the uncertain relations between history 1930s.” 39.1 (fall 1999): 3-22. and representation. Devil in a Blue Dress f Franklin, Carl d Berrettini, Mark L. “Private Knowledge, (d Carl Franklin, 1995) Berrettini, Mark L. “Private Knowledge, Public Space: Investigation and Navigation Public Space: Investigation and Navigation in Devil in a Blue Dress.” 39.1 (fall 1999): in Devil in a Blue Dress.” 39.1 (fall 1999): 74-89. 74-89. Griffith, D. W. d Jay, Gregory S. “‘White Man’s Book No Erens, Patricia Brett Good’: D. W. Griffith and the American In- Erens, Patricia Brett. “Crossing Borders: dian.” 39.4 (summer 2000): 3-26. Time, Memory, and the Construction of Identity in Song oft he Exile.” 39.4 (summer Hawks, Howard d 2000): 43-59. Corkin, Stanley. “Cowboys and Free Markets: This article analyzes the construction of Post—World War II Westerns and U.S. He- memory in Ann Hui’s Song oft he Exile as it gemony.” 39.3 (spring 2000): 66-91. intersects with issues of cultural identity, na- tional allegory, and women’s autobiographies. Highway Patrolman f(d Alex Cox, 1992) Everett, Anna Laderman, David. “The Road Movie Redis- Everett, Anna. “Lester Walton’s Ecriture covers Mexico: Alex Cox’s Highway Patrol- Noir: Black Spectatorial Transcoding of ‘Cin- man.” 39.2 (winter 2000): 74-99. ematic Excess.” 39.3 (spring 2000): 30-50. For many scholars and students of Ameri- Hitchcock, Alfred d can film history, the black press campaign Morris, Christopher D. “Torn Curtain’s Fu- against D. W. Griffith’s The Birth of aN ation tile Talk.” 39.1 (fall 1999): 54-73. 130 Cinema Journal 39, No. 4, Summer 2000 Hui Ann d mosexual” who lent a gay sensibility to the Erens, Patricia Brett. “Crossing Borders: film’s narrative and the musical numbers that Time, Memory, and the Construction of animated it. Identity in Songof the Exile.” 39.4 (summer Lewis, Jon 2000): 43-59. Lewis, Jon. “We Do Not Ask You to Con- Jay, Gregory S. done This’: How the Blacklist Saved Holly- Jay, Gregory S. “‘White Man’s Book No wood.” 39.3 (winter 2000): 3-30. Good’: D. W. Griffith and the American In- The Hollywood blacklist evolved out of dian.” 39.4 (summer 2000): 3-26. and impacted upon a complex set of eco- D. W. Griffith made some thirty short nomic conditions. This article focuses on the films on Indian subjects during the Biograph ways in which certain collusive strategies put years. Yet these mostly melodramatic treat- in place to control the industry workforce in ments have received little critical attention. 1947 enabled the studios to regain control Analyzing films such as The Call of the Wild, over the entertainment marketplace after the A Romance of the Western Hills, and The Second World War. Massacre, this essay explains how the appar- Lindstrom, J. A. ently sympathetic representation of the Na- tive American still adheres to the logic of Lindstrom, J. A. “Almost Worse than the Re- strictive Measures’: Chicago Reformers and white supremacy eventually enunciated in the Nickelodeons.” 39.1 (fall 1999): 90-112. The Birth of a Nation. This essay examines the reform move- Kwan, Stanley d ment’s response to the nickelodeon boom in Cui, Shugin “Stanley Kwan’s Center Stage: Chicago and shows that it was cautiously sup- The (Im)possible Engagement between portive of moving pictures while simulta- Feminism and Postmodernism.” 39.4 (sum- neously promoting the need for municipal mer 2000): 60-80. government to become more responsible for recreational activities for youth. Laderman, David Laderman, David. “The Road Movie Redis- Lingyu, Ruan a covers Mexico: Alex Cox’s Highway Patrol- Cui, Shuqin. “Stanley Kwan’s Center Stage: man.” 39.2 (winter 2000): 74-99. The (Im)possible Engagement between By focusing on genre, landscape, and gen- Feminism and Postmodernism.” 39.4 (sum- der in relation to Mexican national identity, mer 2000): 60-80. a close reading of Alex Cox’s 1992 Mexican road movie, Highway Patrolman (El Linville, Susan E. Linville, Susan E. ““The Mother of All Patrullero), reveals the complexities and con- Battles’: Courage Under Fire and the Gen- tradictions of contemporary transnational, der-Integrated Military.” 39.2 (winter 2000): independent filmmaking. 100-120. Lang, Fritz d Courage Under Fire (1996) goes a long Welsch, Tricia. “Sound Strategies: Lang’s way toward affirming the goal of gender and Rearticulation of Renoir.” 39.3 (spring 2000): racial integration in the conte mporary armed 51-65. services, but it is also defined by images, eli- sions, and subtexts that point e .quivocally to Leff, Leonard J. other historical and cultural vantage points, Leff, Leonard. “(Come on Home with Me’: perspectives that erode and destabilize the 42nd Street and the Gay Male World of the film’s overtly forward-looking vision. 1930s.” 39.1 (fall 1999): 3-22. In 1933, when the fairy was the most vis- Lost Highway f(d David Lynch, 1997) ible representative of American gay culture, McGowan, Todd. “Finding Ourselves on a Warner Bros.’ 42nd Street portrayed its lead Lost Highway: David Lynch’s Lesson in Fan- character, Julian Marsh, as a “masculine ho- tasy.” 39.2 (winter 2000): 51-73. 131 Cinema Journal 39, No. 4, Summer 2000 Lynch, David d Lois Weber’s The Blot (1921), a film about McGowan, Todd. “Finding Ourselves on a the economic and emotional struggles of an Lost Highway: David Lynch’s Lesson in Fan- impoverished professor's family, dramatizes tasy.” 39.2 (winter 2000): 51-73. the intense struggles over gender and class ideologies in the early 1920s. Weber's formal Massacre, The f (dD. W. Griffith, 1912) innovations transform conventions of melo- Jay, Gregory S. “White Man’s Book No drama and realism to articulate visually the Good’: D. W. Griffith and the American In- cultural anxieties centered on the reproduc- dian.” 39.4 (summer 2000): 3-26. tion of a changing middle class. McGowan, Todd Pullman, Bill a McGowan, Todd. “Finding Ourselves on a McGowan, Todd. “Finding Ourselves on a Lost Highway: David Lynch’s Lesson in Fan- Lost Highway: David Lynch’s Lesson in Fan- tasy.” 39.2 (winter 2000): 51-73. tasy.” 39.2 (winter 2000): 51-73. The difficulties in watching David Lynch's Lost Highway stem from the unique way in Rank, J. Arthur p which the film distinguishes between desire Swann, Paul. “The British Culture Industries and fantasy. Whereas most films depict a and the Mythology of the American Market: seamless continuity between the two im- Cultural Policy and Cultural Exports in the pulses, Lost Highway separates them, reveal- 1940s and 1990s.” 39.4 (summer 2000): 27-42. ing how fantasy serves as a respite from the Red River f (d Howard Hawks, 1948) ambiguity of desire. Corkin, Stanley. “Cowboys and Free Markets: Micheaux, Oscar d Post—World War II Westerns and U.S. He- Bowser, Pearl and Louise Spence. “Oscar gemony.” 39.3 (spring 2000): 66-91. Micheaux’s Body and Soul and the Burden Renoir, Jean d of Representation.” 39.3 (spring 2000): 3-29. Welsch, Tricia. “Sound Strategies: Lang's Morris, Christopher D. Rearticulation of Renoir.” 39.3 (spring 2000): Morris, Christopher D. “Torn Curtain’s Fu- 51-65. tile Talk.” 39.1 (fall 1999): 54-73. While conceding the story’s moral am- Robeson, Paul a biguities, most critics of Torn Curtain ulti- Bowser, Pearl and Louise Spence. “Oscar Micheaux’s Body and Soul and the Burden mately concur with the popular judgement of the film as a satire flawed by a weak of Representation.” 39.3 (spring 2000): 3-29. script, production problems, and even the Romance of the Western Hills, A. f(d director's indifference. This deconstructive D. W. Griffith, 1910) study reads the film as a narrative of the Jay, Gregory S. “‘White Man’s Book No illusion of mutual understanding, one that Good’: D. W. Griffith and the American In- puts into question political, ethical, and re- dian.” 39.4 (summer 2000): 3-26. ligious distinctions. Ryan, Meg a My Darling Clementine f(d John Ford, Linville, Susan E. “The Mother of All Battles’: 1946) Courage Under Fire and the Gender-Inte- Corkin, Stanley. “Cowboys and Free Markets: grated Military.” 39.2 (winter 2000): 100-120. Post—World War II Westerns and U.S. He- gemony.” 39.3 (spring 2000): 66-91. Scarlet Street f(d Fritz Lang, 1945) Welsch, Tricia. “Sound Strategies: Lang’s Newman, Paul a Rearticulation of Renoir.” 39.3 (spring 2000): Morris, Christopher D. “Torn Curtain’s Fu- 51-65. tile Talk.” 39.1 (fall 1999): 54-73. Song of the Exile f(d Ann Hui, 1990) Parchesky, Jennifer Erens, Patricia Brett. “Crossing Borders: Parchesky, Jennifer. “Lois Weber's The Blot: Time, Memory, and the Construction of Rewriting Melodrama, Reproducing the Identity in Song of the Exile.” 39.4 (summer Middle Class.” 39.1 (fall 1999): 23-53. 2000): 43-59. 132 Cinema Journal 39, No. 4, Summer 2000 Swann, Paul Wayne, John a Swann, Paul. “The British Culture Industries Corkin, Stanley. “Cowboys and Free Markets: and the Mythology of the American Market: Post-World War II Westerns and U.S. He- Cultural Policy and Cultural Exports in the gemony.” 39.3 (spring 2000): 66-91. 1940s and 1990s.” 39.4 (summer 2000): 27 42. Weber, Lois d This article compares the marketing Parchesky, Jennifer. “Lois Weber's The Blot: and reception of British motion pictures Rewriting Melodrama, Reproducing the in the U.S. market during the 1940s and Middle Class.” 39.1 (fall 1999): 23-53. 1990s. In both eras, British filmmakers were captivated by the fantasy of conquering Welsch, Tricia the American marketplace. They viewed Welsch, Tricia. “Sound Strategies: Lang’s their movies as a fundamentally new kind of Rearticulation of Renoir.” 39.3 (spring 2000): product that made it possible to challenge 51-65. Hollywood on its own terrain. Fritz Lang directed Scarlet Street in a tri- Torn Curtain f(d Alfred Hitchcock, angulated response to his previous film, The Woman in the Window, and to Jean Renoir's 1966) La Chienne, which it explicitly remakes. The Morris, Christopher D. “Torn Curtain’s Fu- ambivalent relation among the films is most tile Talk.” 39.1 (fall 1999): 54-73. clear in Lang's treatment of sound, which re- Wang, Jennifer Hyland verses Renoir’s practice. Wang, Jennifer Hyland. “‘A Struggle of Con- Woman in the Window f(d Fritz Lang, tending Stories’: Race, Gender, and Political 1944) Memory in Forrest Gump.” 39.3 (spring Welsch, Tricia. “Sound Strategies: Lang's 2000): 92-115. Rearticulation of Renoir.” 39.3 (spring 2000): Forrest Gump revises popular memories of the 1960s through its representations of 51-65. gender and race and its visualization of post- Zemeckis, Robert d war history. This article examines how politi- Wang, Jennifer Hyland. “‘A Struggle of Con- cal conservatives used the film to articulate a tending Stories’: Race, Gender, and Political traditional version of recent American his- Memory in Forrest Gump.” 39.3 (spring tory and to define their political ground in 2000): 92-115. the 1994 congressional elections. Zwick, Edward d Washington, Denzel a Linville, Susan E. ““The Mother of All Berrettini, Mark L. “Private Knowledge, Battles’: Courage Under Fire and the Gen- Public Space: Investigation and Navigation der-Integrated Military.” 39.2 (winter 2000): in Devil in a Blue Dress.” 39.1 (fall 1999): 100-120. 74-89. 133 Cinema Journal 39, No. 4, Summer 2000